New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-02-06
NETWORK ETCHERS.
TRADE INFIJTENcF IN rTcuINc

ing ten years since were disciples of Hamerton aud
Lalapne, aud digent In the study of the work of
Haden and Whistler They valued etching as the
most direct means OF expression upon metal. They
had iouu mat the needle permitted free, unbamp
cred style OF dfsNing i'll an Individual manner which
possible in like degree neither the BURN nor to
the wood engravets chsel Some took their plates out
OF doors and sketched from nature etching from love
OF tie art and understanding of its scope and not
from deerenee to name. But in the of time
the etc.Ing became fashionable and trade demand
feit. Other artists seeing this demand have
fastened to take up etching q supplementary but
profitable industry. Every year the number OF etcb
various kinds have occupied.the panteretehers with
work which they themselves acknowledge to be
"potboilins From this it naturally follows that the
influence OF the trade is very plainly shown in
the present exhibition Foreign etchings are less
numerous, but there IL conspicuous quantity of
American work done directly for the market without
regard to tho artists qualifications the fitness OF
his medium.
II is easy to say that this encoura ement OF home
talent is good but we must look to its motives It's
results we have before us and although we find a few
instances OF individual work in the etcbngs of Messrs
Platt Parrish. DIR. Yale, Mrs. Moran Mrs. Getche
contributed by Messrs. Rosenberg, WhittemOie,
Lathrop. Miss Dllago and Miss Este, and some good
reproductive work by Messrs. j. ID. Smlllie and
King to go no further, compelled TO acknowl-
edge thn these results for the part character
less evidences OF industry rather than OF art. Tho
motives which have increased the quantity OF etchngs
usually so far as the dealer is concerned. entirely
practical. which is not unnatural. In most cases
his first desideratum ia popular subject, and this
has occasionally reacted upon other branches OF art
for have seen artists choosing subjects tor paint
ings With regard not to their intrinsic fitness but to
their likelihood of pleasing the public in reproductions
OF this Messrs. Z. Y. Turner and Hamilton Hamilton
have furnished various examples, and OF the direct
choice of popular subject" for etching there is
curious Instance In Mr. Chnmpney's Cupid" Mr..
Champney has never mastered the use of the etching
needle but without regard to that, 1t might have been
expected that artist of his experience could at least
draw correctly. Yet it safe TO tor this false
ma certain
ularty and in this the end OF artist and dealer is
reached although we cannot imagine that the artist
takes much pride In his work. There is another in
stance OF this uneasy striving to hit the market In
Mr.. Turner's head alter Rembrandt" which Is
really alter an admirable Braun photograph OF tho
iery Even in this second diluon much OF the effect
of the rugged forcbe face and charoscuro remains,
hut this is due rather to the strength OF tho subject
than to the etcher's OF his medium Even granting
that such vigorous effects persist have their existence
on account OF the echer rather than in spite OF him.
the etching has not the truthful character vi the pho
tograph, its richness OF quality, nor its expression
of texture. After all tho etching worth while Is
not first rate Brann photograph OF n painting more
satisfactory than third ratio etching of that photo
graph Tho samo search for n" taking subject is
shown In Mr. Haniiltcns etching after Breton's Com
municants" nut must give Mr.. Hamilton credit tor
going directly &c tho painting and tor hard work
upon his plate. We cannot say much tor the express
sion OF tho faces for the general character OF tho
etching which seems TO MS tame, abored, and unDter-
esng nothing OF doubtful passages In the man
aeement Of lights aud even in tho drawing. Undoubt-
eddy Mr. Hamilton has done his best but he has UNDER
taken too much. Again come back To tho reason
OF the etching's existence. Evidently this painting
vas etched simply account OF ITS noorety. acquired
through the foOlishness OF the Morgan sale.
These instances 20 to illustrate tho trade influence
or ut least conspicuous phase OF this influence After
the question OF subject comes the appeal to the sen-
terest of the purchaser contained In tho sounding
phrases an original etching" and "a limited edi-
ton" When an artist borrOws his subject, when he
treats this subject in manner utterly devoid OF org
noty and sometimes Q, en- OF skill, aud when the
| I,a utiv character whatever.
the codnes. of MI engraving IL an attempt to do
what could be better done in meIzotint or by good
photographs process, tho peculiar virtues oil tue
I. ORIGINAL etching are not readily apparent. Tho
name remains and little more bnt speculation in tho
fashionable name ia "a current here as IN oil paintings
Out OF the limited edition idea has grown an IN
crossing multitude OF divisions between the thai prou
and the print, and we have to deal with Impressions
upon yellum. Chinese and Japanese paper INDIA
r Holland paper and satin often III addition
TO the artistic proofs remarquo proofs, proofs before
letters and tho rost II the amateur ear really APP
he'd In accepting the various means tor making the
descending scale of prices n gradual and as long as
remardue. There has never been an eAhlbltion IN
which the iomardue has hourshed in such rank
luxnriance The old legend still fingers that tho
remarquo begin when some unknown eleher tired
his point upon the edge OF h plate just before taxing
his frat upres sons. The belief yet obtains that the
fcmarguo tcstiles TO the echers supreme satiriac-
ton with n supreme effort But matter Of fact the
remar0ue has hcOsmo any kind Of a fanciful sup
Elementary sketch, not necessarily appropriate not
/
h.r Of IMPRESSIONS which secas 10 be limited Only AT
the will of artist or dealer. Sometimes We SEE MY
remar,iue proof. announced, and again 300 Some
! times. Ne know. modest iematpne may Dc Junu-
fed aud Acrc rs intrinsic reason or It's eAls chte ana
aot merely desire to fA hishc. prico upon the .ni-
| p,.-.on But the abuse Of the rcmarqne is for
chilly illustrated here. II would not be deemed arts-
tic 20 frame painting IN such manner tha the ey"
would be drawn aside to the frame. Il IL equally IN
artistic 10 aiix n rcmarguo which draws attention
ay nv from the etching Moreover these distinctions
were established in the days when Impressions were
taken directly from Tho copper. IL Is worth thc anna
tours while to inq"irc closely into their actual s,nlh-
canoe now that printing il universally done from steel
acel plates which can DO rotaced Whenever they sho"
! sign, Of wear.
! Among tho parnter-otchings Of this exhibition the
examples of the direct OF etching "a what 10 Is, a
linear art, there nothing prrcmnent as the work
which tho honors OF last years exhibition for
McssrA Platt aud Parrish. Both are represented the
former by Il good suggestion OF color and contrast,
Tho Goldsmith, Bridge, and by tao admirable little
Pier at Hayre" with its deNterous use OF ionl DnS,
andthe latter by five examples. Mr. Parrish " Olou-
ce-t,r Wharf with its cleverlv effective dry point
work ia hrppy instance OF direct treatment and judi
cols omission OF details. or the large plnte' tue
..coud state of his Coast OF New Brunswick much
light be sand but Ist content ourselves with not
ing strength OF contrast and considerable torce IN
| execution which would have been moro impressive II
! concentrated. The 4" Mdsummcr Twilight" which
| contains some excellent passages might better haVo
been treated on smaller scale. while the ilaroot at
Cannes would have lost nothing OF itS vigor had tue
composition been los+ disturbing and me hghuh,!
| more thoughtiu,ly adjusted. The Gale nj fectmp
#, hardly to oe taken seriously, bat 40 are glad 70
recognize the persistence OF both artists n mon, lIual
ard direct of the needle Mr. Bachtr another OF
/ th. paincretchers who seldom does wholly unlnler-
e.tiug work, bat this year lac contributes only Que
plate. Hs =" Milan Cathedral deserves better
place. tor 1t is U! the important oichings oil the
c,r .hition, although we thnk that those who have
allowed the artists work viii regard It win some
feeling OF dsappoint nent The subject Il well drawn
aud the treatment has been wisely confined to Outline
4nd suggestion lor the most part. But thore IL i'i
l-, Of variety and contrast Than We have usually hAn
No Nr. NIchcr's etching. and tho iuli lighting AZ so
slightly relieved that tho ensemble Is open to the
Al areo Of blcakncss aud m0notony. The Work II
Good TAR II coca but the manner IA comparatively
mpcrsona lacking the quality always ielt III Meryon
work The subject It seems to lis was an mprndeht
cho,ce but after all allowances are made tho etcher
has acquitted himself without dscredit. Mrs Edth
Iorng Gctohcl nee Pcrco) has nothing among her
ten otchings quite equal TO her Road to the sea
although give share of the credit Tor that 70
the printer Her Orchard Path shows better hand
OF lnndscnne thnn OF inlinee her Willow. w COZ